Tag: ‘Yokai’

In November 1855, the Great Ansei Earthquake struck the city of Edo (now Tokyo), claiming 7,000 lives and inflicting widespread damage. Within days, a new type of color woodblock print known as namazu-e (lit. "catfish pictures") became popular among the residents of the shaken city. These prints featured depictions of mythical giant catfish (namazu) who, according to popular legend, caused earthquakes by thrashing about in their underground lairs. In addition to providing humor and social commentary, many prints claimed to offer protection from future earthquakes.

1. Earthquake victims take revenge on the giant catfish responsible for the destruction [+]

The popularity of namazu-e exploded, and as many as 400 different types became available within weeks. However, the namazu-e phenomenon abruptly ended two months later when the Tokugawa government, which ordinarily maintained a strict system of censorship over the publishing industry, cracked down on production. Only a handful are known to survive today.

Namazu are normally kept under control by the god Kashima using a large rock known as kaname-ishi. The Great Ansei Earthquake of 1855 is said to have occurred when Kashima went out of town and left Ebisu (god of fishing and commerce) in charge. In this print, the giant subterranean catfish unleashes destruction on the city while Ebisu sleeps on the job. Kashima rushes home on horseback while the city burns, and Raijin the thunder god defecates drums. Large gold coins fall from the sky, symbolizing the redistribution of wealth during the rebuilding phase.

This print shows a namazu engaged in a fierce game of "neck tug-of-war" with the god Kashima. A group of earthquake victims root for Kashima, while those who typically profit from earthquakes (construction workers, firemen, news publishers, etc.) root for the catfish.

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4. Ancient catfish (Artists: Kyosai Kawanabe and Robun Kanagaki)

Produced two days after the earthquake, this work by Kyosai Kawanabe and Robun Kanagaki is considered the first namazu-e catfish print. The picture, which makes reference to a popular kabuki play of the era, inspired the creation of many namazu-e prints to follow.

This protective print, which claims to prevent earthquake damage to one's home if attached to the ceiling, shows a group of remorseful catfish apologizing to the god Kashima for causing earthquakes while he was away.

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6. Catfish family

This print shows a mob of earthquake victims coming to take revenge on a namazu and its children.

In this print, which claims to offer protection from earthquakes, the god Kashima and prostitutes from the Yoshiwara red-light district express their anger toward the catfish responsible for earthquakes.

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8. Namazu saviors

Some prints show the benevolent side of namazu. Here, they are seen rescuing people from the rubble.

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9. Daikoku, the popular god of wealth, restrains a namazu and showers people with money [+]

In this print, the god Kashima is pictured in the top right corner. The kaname-ishi rock, portrayed as a person, stands on the head of the catfish, while a crowd of people try to subdue the giant beast. The people on the left who are not helping subdue the catfish include construction workers and others who typically profit from earthquakes.

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12. Earthquake hand game

This print is a reference to the old Japanese saying, "The most frightening things are earthquakes, thunder, fires, and fathers." Here, a namazu plays janken (paper-rock-scissors) with the gods of thunder and fire while an elderly man (father) looks on.

This print also makes reference to the old Japanese saying, "The most frightening things are earthquakes, thunder, fires, and fathers." Here, a namazu and the gods of thunder and fire discuss their powers over a fish dinner while a middle-aged man (father) looks on.

In this print, the god Kashima stabs his sword into the throat of the namazu, which is laid out on a giant table. The crowd of onlookers is divided into two groups. The people in the top half of the picture are labeled as "smiling" (those who benefit from the earthquake) and the people at the bottom are labeled as "weeping" (those who are harmed by the earthquake). The top group includes a carpenter, a plasterer, a lumber salesman, a blacksmith and a roofer, as well as an elite courtesan, an ordinary prostitute, a physician, and sellers of ready-to-eat foods. The bottom group includes a teahouse proprietor, an eel seller, various entertainers such as musicians, comedians and storytellers, a seller of luxury goods, a diamond seller, and a seller of imported goods.

This print, which shows a namazu punishing a rich man and a famous actor, illustrates a popular theory that the gods deliberately allowed the earthquake to happen in order to rectify some of the imbalances in the world.

This print depicts a namazu as a priest seated inside a giant rosary. The creature does not want to cause any more earthquakes, but the "worshipers" -- tradesmen such as lumber dealers and carpenters who profit from the disaster -- are praying for it to act up again. The ghosts of earthquake victims float overhead.

This print shows a massive steamship-like namazu approaching the city. The creature is spouting money, and people on shore beckon for it to come closer. The depiction of this namazu conjures up images of Commodore Perry's black ships, which arrived in Japan in 1853 and eventually forced the country to open its ports to Western commerce.

In this print, the god Kashima has captured the catfish responsible for the major earthquakes in Shinshu, Edo, and Odawara. A carpenter, fireman, plasterer and roofer try to persuade the god to release the catfish, saying the creatures have apologized enough. The unforgiving Kashima sentences the fish to be cooked in a nabe stew.

In this print, Ebisu (god of fishing and commerce) apologizes to Kashima for falling asleep on the job after drinking. The catfish leader is also apologizing, saying it was the thoughtless ones that went wild.

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25. Peace in the Ansei era

This print shows the god Kashima using the kaname-ishi to subdue the namazu responsible for the recent earthquakes.

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26. Namazu is wrestled into submission and placed under the kaname-ishi rock [+]

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27. Ridgepole raising

This print shows a group of namazu construction workers erecting the kanji character 平 (hira), which can symbolize "peace."

In this print, a namazu tries to help a comrade escape from a trap by handing it a gourd. The image is a reference to the old Japanese expression "gourd and catfish" (meaning "slippery" or "elusive"), which originates from a famous 15th-century Zen painting of a man trying to catch a catfish with a gourd.

This print shows people dancing around a namazu dressed as a representative of Kashima shrine in an annual ritual held before the start of the new agricultural season. The image of the rabbit represents the zodiac year of the rabbit (1855).

A crowd of elderly people, carpenters, young wives, china-shop owners, entertainers, Yoshiwara prostitutes, physicians, and others are offering prayers to the kaname-ishi rock, believed to have the power to keep earthquakes in check. When a person in the crowd voices his doubts about the rock's powers, the rock responds, "I assure you that if the earth moves even a little I will stand on my head." In the original Japanese, this answer features a pun on the words ishi-gaeshi ("overturning a rock") and ishu-gaeshi ("taking revenge").

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37. Earthquake protection song

In this print, Daikoku, the popular god of wealth, showers people with money while the god Kashima restrains a namazu.

This print shows a mother namazu chasing a mob of people who have kidnapped her two children. The message on the flag carried by a person in the crowd suggests they intend to grill and eat the young catfish.

The Kaibutsu Ehon ("Illustrated Book of Monsters") is an 1881 book featuring woodblock prints of yōkai, or creatures from Japanese folklore. Illustrated by painter Nabeta Gyokuei, the book is modeled after the influential works of Toriyama Sekien, an 18th-century scholar and ukiyo-e artist known for his attempt to catalog the many species of yōkai in Japan. Here are 25 monsters from the book.

Fukui-based yōkai painter Matthew Meyer has been researching and painting a different traditional Japanese monster each day this month. Here are a few of the lovely horrors featured in the collection, which will continue to grow until the end of October. [Link: A-Yokai-A-Day]

Here is a collection of wonderfully weird illustrations by Gōjin Ishihara, whose work graced the pages of numerous kids' books in the 1970s. The first 16 images below appeared in the "Illustrated Book of Japanese Monsters" (1972), which profiled supernatural creatures from Japanese legend. The other illustrations appeared in various educational and entertainment-oriented publications for children.

Here is a look at the Kaikidan Ekotoba, a mysterious handscroll that profiles 33 legendary monsters and human oddities, mostly from the Kyushu region of Japan (with several from overseas). The cartoonish document, whose author is unknown, is believed to date from the mid-19th century. It is now in the possession of the Fukuoka City Museum.

The black creature on the right was born by a dog that mated with a bird in the city of Fukuoka in the early 1740s. Next to the bird-dog hybrid is an amorphous white monster -- also encountered in Fukuoka -- which is said to have measured about 180 centimeters (6 ft) across. People at the time believed this creature was a raccoon dog that had shape-shifted.

This illustration depicts a ghostly old woman known to appear late at night in a certain guest room at a temple in the Kaho area of Fukuoka prefecture. On multiple occasions, terrified lodgers ended up fatally wounding themselves after trying to strike her with a sword.

During heavy winds, this Russian hitodama (a fiery apparition composed of spirits of the recently departed) could be heard to say, "Oroshiya, oroshiya" ("Let me down"). There is some speculation that the author dreamed up the creature based on a play on words, as "oroshiya" sounds like the old Japanese pronunciation of "Russia."

Long ago, a man with massive testicles reportedly made a living as a sideshow attraction at Mt. Satta, on the old Tokaido Road near the city of Shizuoka. His scrotum is said to have measured about a meter across.

The "wild woman" shown here appears to be an aquatic humanoid with scaly skin, webbed hands and feet (each with three fingers and toes), long black hair, and a large red mouth. People claim to have encountered the creature in the 1750s in mountain streams in the Asakura area of Fukuoka prefecture.

The "ox woman" pictured here was sideshow attraction at Dazaifu Tenmangu shrine (Fukuoka prefecture) in the mid-18th century. The armless lady entertained audiences by using her peculiar feet to run string through the center holes of coins.

The illustration shows a middle-aged traveling monk from Nagano prefecture who would bathe in hot springs without removing his leggings. If anyone asked him why he did not fully undress before entering the water, he would show them the holes in his shins, which contained snakes. The man was born with snakes in his legs as punishment for misdeeds in a previous life.

Many Edo-period scrolls featured illustrations of unfamiliar creatures -- animals that actually existed but were rarely seen in Japan (such as fur seals and sea lions), along with creatures generally regarded as imaginary (mermaids and kappa). This illustration shows a 3-meter-long seal that was captured in the early 19th century at Kanezaki Inlet.

This illustration shows an Ezo Wolf (a.k.a. Hokkaido Wolf), which is believed to have gone extinct in the late 19th century (after this illustration was made). The animal is seen here with its paw on a human skull.

The nekomata is a cat monster with a forked tail and a taste for human flesh. The creature's powers include the ability to talk, walk on hind legs, shape-shift, fly, and even resurrect the dead. The nekomata pictured here was encountered in the Nasuno area of Tochigi prefecture.

The kawataro is a variety of kappa (water imp) which, according to the accompanying text, likes to eat people and practice sumo. An indentation on top of the creature's head is filled with water. The kawataro becomes weak when the water spills out.

This illustration shows a monster cave believed to exist deep in the mountains of Kumamoto prefecture. At first glance, it looks like an ordinary cave. But as you approach the entrance, the eyes and teeth become visible.

The snake woman pictured here was reportedly encountered by six people on Mt. Mikasa in Nara prefecture. Five of the eyewitnesses died instantly. The sixth person survived long enough to make it home and tell the tale, but he grew ill and died three days later. The snake-bodied woman resembles the notorious nure-onna, except that this one has a beautiful face.

Here's a peek at a few creatures profiled in Yōkai Jiten ("Yōkai Encyclopedia"), an informative guide to 100 of Japan's traditional monsters, written and illustrated by manga artist Shigeru Mizuki in 1981.

The suiko (lit. "water tiger") is a king-sized variety of kappa living in and around the Chikugo River (Kyushu), Lake Biwa (Shiga prefecture), and other bodies of water across Japan.

In addition to prowling around at night and making mischief, the suiko has the power to possess people. Those possessed by a suiko descend into a temporary state of madness, but they recover quickly after the creature withdraws.

At least once a year, the suiko drags a human victim into the water, sucks out his blood, and returns the body to shore. It is best not to have a funeral for the victim of a suiko attack. Instead, the body should be left on a wooden plank inside a small thatched hut in a field. If done properly, this course of action causes the flesh of the suiko perpetrator to slowly rot until it dies.

Umi-bōzu are giant black bulbous beings that live in the sea. Sometimes they have glowing eyes and a beak, and other times they have no facial features at all. To survive an umi-bōzu encounter at sea, one should remain quiet and look in the opposite direction. Speaking or looking at the creature may send it into a rage -- and that usually ends in tragedy.

Long ago, a mysterious sea creature known as the bake-kujira (lit. "ghost whale") used to appear at night in the waters around an island in Shimane prefecture. The thing looked like the skeleton of a giant whale, and it was usually accompanied by a flock of strange birds when it came drifting in with the tide. Later, when the tide started to recede, peculiar fish would become visible in the water around the monster. Fisherman trying to catch the bake-kujira claimed their harpoons passed through the creature as if it were not there.

The satori is a type of mountain-dwelling goblin that can read human minds. When it encounters travelers passing through the mountains, the creature approaches them and begins speaking their thoughts aloud. Once the victims become thoroughly confused and disoriented, the satori captures and eats them.

It is said that an empty mind is the best protection against a satori attack. Thinking nothing at all causes the creature to turn away in boredom or flee in fear. A notorious satori named Omoi lives on the slopes of Mt Fuji.

The ōnyūdō (lit. "large monk") appears in numerous Japanese folk tales. His appearance varies from story to story, but he is always big, ranging anywhere from 2 meters (6 ft 6 in) tall to as large as a mountain. In most cases, the ōnyūdō is a malevolent figure that can cause people to fall ill simply by looking at them. Some stories describe him as a fox or tanuki (raccoon dog) that has shape-shifted, but in most stories his true identity is a mystery.

The bakki is a furry creature with eyes on top of its head. It measures 60 to 90 centimeters (2 to 3 ft) long and usually appears as a blur because it runs so fast. The bakki is regarded as a great threat to the environment, as it causes moisture to disappear wherever it goes. Plants and trees wither, crops fail, and ponds evaporate. The only way to eliminate a bakki is to capture it and submerge it in dirty water.

The nuppefuhofu (a.k.a. nuppeppo) is a man-sized lump of decaying human flesh usually found hanging around old abandoned temples and graveyards. Aside from the creature's massive flabs of flesh, the only features are its arms and legs -- and its horrid smell. The nuppefuhofu enjoys long aimless walks after dark, and it appears to derive satisfaction from frightening people on the street at night.

Koboku-no-kai are spirits of old trees. One such tree spirit was encountered by Tarōemon, a man who lived in Niigata prefecture long ago. One drunken night, Tarōemon noticed a prowler standing next to the old tree in front of his house. He stepped outside to confront the stranger, and they started fighting. Tarōemon subdued the man and managed to drag him inside, only to discover that he had transformed into a large tree branch. The next morning, Tarōemon took the branch to a nearby temple. The resident priest told Tarōemon that the old tree in front of his house was occupied by a spirit. After the priest recited a chant, the tree never caused any trouble again.